When Making Music learnt that it was no longer a National Portfolio Organisation, it was forced to rethink how it operated. Barbara Eifler describes a difficult six months.
Hubs have made “a strong start” but more still needs to be done to boost music provision, particularly for boys and children with special educational needs.
Venues that provide a training ground and experience for up-and-coming musicians are not up to standard and need investment to bring them up to the levels expected by audiences, according to the Music Venue Trust.
The Scottish Government’s youth arts strategy aims to increase engagement in the arts as well as tackle inequality. Fiona Hyslop outlines how it has evolved.
Orchestras Live invited a group of 16-22 year olds to produce a concert with the City of London Sinfonia. Jan Ford was impressed by their creativity, imagination and enthusiasm.
Inviting Sir Harrison Birtwistle as composer in residence to a new music festival had the desired effect on the student performers and composers, says Richard Causton.
Owning the freehold of its site will enable Aldeburgh Music to fulfil Benjamin Britten’s vision for a creative campus while creating a new source of income for its artistic programme.
Music will not be prioritised under new-style Ofsted inspections, but school leaders will soon be judged on the breadth and balance of their curriculum, including music provision.
As he prepares to open a new arts and learning centre, Leon Patel reflects on those that have helped and inspired him since the moment he picked up his first tambourine.
In a week when arts organisations are urged to make a greater commitment to diversity, Ammo Talwar outlines his business model based on a specialist knowledge of the ‘black arts’, organic growth, a degree of risk-taking… and no mention of the D word.
Local authority cuts mean that some libraries are no longer lending music scores to amateur groups. Barbara Eifler explains why she is campaigning to restore this valuable service.
A recent conference explored the value of music-making with early years and key stage 1 children. Fraser Wilson and Emily Moss describe the event’s discussions and activities.
How can the arts respond to the UK’s changing demographic? Tony Haynes calls for greater recognition for the work created for our local, diversely rich communities.
Building a business in the black arts
In a week when arts organisations are urged to make a greater commitment to diversity, Ammo Talwar outlines his business model based on a specialist knowledge of the ‘black arts’, organic growth, a degree of risk-taking… and no mention of the D word.